
A trove of drawings by Franz Kafka was brought to light in 2019. They share, says Philip Oltermann, features with paintings Kafka describes in his fiction: “… men riding flying buckets, singing mice and creatures made of household detritus… dream-like tales [which] often seem to defy the visual imagination of his readers.”

Oltermann quotes philosopher Judith Butler’s comment “that Kafka’s creations often become harder to visualise the more detail he describes them in,” such as a creature that looks “like a flat star-shaped spool for thread.” Another creature called Odradek, writes Butler, “is described in detail but that description yields no fixed image… Readers have sought in vain to draw Odradek, its bits of multicoloured thread, its spool, crossbar, star, and rod.”

If Kafka’s drawings were not “Kafkaesque,” his antipathy to illustrating his writing does seem so. He begged his editor “never to visualise his most famous creation. ‘The insect is not to be drawn,’ he stipulated in a 1915 letter about the cover of Metamorphosis. ‘It is not even to be seen from a distance.’”
(Philip Oltermann, “Franz Kafka drawings reveal ‘sunny’ side to bleak Bohemian novelist,” theguardian.com, 10-29-21)
(c) 2021 JMN — EthicalDative. All rights reserved







Paula Rego Likes to Work
Portuguese-born artist Paula Rego (b. 1935) studied at the Slade School of Fine Art, London. She lives in the UK.
Quotable saying: “Doing work, that is to say, drawing, is an erotic activity.”
Anna Russell writes that the urgency of Rego’s work “in all its savage, tactile vitality” is keenly apparent in her large pastel portraits.
I’m intrigued by the skewed angles in both paintings; the prominence of the sofa in “Possession I”; that of weirdly inexplicable objects and detail in “The Pillowman.” Is the latter a surreal takeoff on descent from the cross?
(c) 2021 JMN — EthicalDative. All rights reserved